Broadway’s legendary song and dance man, Tommy Tune, is nowhitting the stage high stepping through his nine time Tony Award winning careercelebrating 50 years on the Great White Way. He sings, dances, and laughs hisway through those glorious musical moments that made him a Theatre Legend. TommyTune is possibly the tallest dancer in the country. We sat down to talk last month regarding hisinvolvement in the film version of Hello,Dolly!Directed by Gene Kelly and adapted and produced by ErnestLehman, the cast includes Barbra Streisand, Walter Matthau (in his only moviemusical), Michael Crawford, Danny Lockin, Tommy Tune, Fritz Feld, MarianneMcAndrew, E. J. Peaker and Louis Armstrong (whose recording of the title tunebecame a number-one single in May 1964).
The film was photographed in 65 mmTodd-AO by Harry Stradling, Sr. Though she wasdefinitely far too young for the part of Dolly Levi, Barbra Streisand shines inthe part because of that golden voice allowing her to express the story goingforward.Tommy Tune was dancing in the chorus of How Now Dow Jones when Hollywood came knocking. George Abbott wasthe director and Michael Bennett had taken over as choreographer. Working withMichael Bennett was a privilege.The number that Tommy was in was cut for theevening performances.
How Now, Dow Jones was a musical comedy byAcademy Award winner Elmer Bernstein, Tony Award nominee Carolyn Leigh and MaxShulman. The original Broadway production opened in December 1967.The casting director, Alixe Gordin, and Roger Edens werescouting New York talent for the film version of Dolly and came to a matineeperformance.
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| with Joyce Ames |
They saw Tommy do his matinee performance of a number that was cutand never seen again!
It was probably performed seven times before producerDavid Merrick cut it. Gordin and Edens called the theater. They wanted Tommyfor a screen test. He didn’t have an agent at the time. Chorus boys didn’t have agents. Someone suggested he call anagent named Peter Cereghetti. He would not be able to do a screen test exceptthrough an agent.
The big movie studios protected themselves that way. If theysee someone and they want them, and they haven’t done that much, they can beheld up in negotiations. It was called “setting up a deal.” Through Cereghetti,it was arranged for Tommy to do a screen test and be flown out to Hollywood.Tommy, first of all, had to get permission from David Merrick.
Merrick, believeit or not, felt a little bad about Tommy’s number being cut from the show.
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| Tommy teaches Streisand the joys of "Dancing," in Hello, Dolly (Source: Arm Chair Actorvist Blog) |
Prior to that, it had been called the Manhattan Theater and BillyRose’s Music Hall.
Tommy flew out overnight and rehearsed and shot the screen testmissing the Monday performance (which Merrick had graciously let him out of).
The screen test consisted of what would be Ambrose Kemper (Tommy Tune)’s firstscene in the movie. Horace Vandergelder (Walter Matthau) telling him he is asix foot six nincompoop.He didn’t film the scene with Matthau, but rather,with a very good character actor. Obviously, we know the outcome. Tommy wasasked to sign a seven year contract to appear in that movie. When they finishedthat film, it truly was the end of the big Hollywood musical. They wanted tochange Tommy’s name because it sounded too much like a musical comedyentertainer.
They wanted him to be the new Jimmy Stewart. None of what theydesired him to do or become was not right for him.
He went to the powers thatbe at Twentieth Century Fox and said, “I want to go back to New York andBroadway. Is that OK? Y’all aren’t doing movie musicals anymore. ” The Nanny and the Professor was just notcutting it for him. He did not desire to do sitcoms. His heart was not in it.Twentieth Century Fox let him out of his contract. He wanted to see his screentest. No one had been allowed to see their screen tests. He felt that hisscreen test was better than what appeared in the final result because he didnot know anything. The screen test was directed by Gene Kelly with full setsand costumes. It was just as if he was already shooting the movie. Thedifference was that TOMMY was the star of his screen test. It was all aboutscreen testing him and getting the angles on him and getting him right. When itcame to filming the movie, it was about getting it right for Walter Matthau andBarbra Streisand in their scenes.
They tested twenty seven guys for this part.It was a different time. That would never happen now.
Tommy had done TheMatchmaker in college and he had seen Carol Channing in Hello, Dolly on stage. He playedCornelius and knew the story very well. Tommy considers Carol the beginning andthe end of everything. Carol is Tommy’s theatrical godmother. He had no desireto see any of the other Broadway Dollys. Tommy says in his great memoirs, Footnotes,“What a creation Carol Channing is!She is unique. What a blessing she is to the theater! A little of the CarolChanning vitamin goes a long way.”When they were shooting the Dancing number, Tommy received the single greatest advice from hiscareer from Gene Kelly. Tommy wasn’t slacking off but Gene said to him, “Dancebetter.”
He wasn’t the choreographer. That was Michael Kidd. Tommy is theopposite of what Michael Kidd liked. He likes to have tall girls and short guysworking together. It was a sex thing. He loves for the men’s heads to be rightwhere the women’s breasts are. It was also an energy thing. It was just theopposite with Tommy and Joyce Ames who played Ermengarde. They didn’t interestKidd as a couple and there were huge possibilities. It was the reverse of whathe saw. Gene just stepped in to help. Tommy loved Gene and felt sorry for him. Theywould work with Barbra, get everything all set, and then he would get theangels as he saw fit as the director. In truth, he called Barbra, when she wasnot on the set and he was ready for her, he would say, “Bring on the dreadedBarbra.” He truly wasn’t a mean man. He would say that to the crew in earshotof everybody. She would come on, change everything, and he would go along withit. 
Tommy found Kidd very busy , very “proppy”, very athletic…notthree of Tommy’s favorite things. He likes simple, elegant, clean. Tommy believes the movie has gotten better with age. He wastotally embarrassed by the movie when it came out. Now he looks at it, andbecause standards have dropped so much in the world, he now goes, “That’s good!”or, “That’s really enjoyable.” He didn’t think at the time of its release thatit was near good enough or imaginative enough.”For one, he doesn’t feel that it was ideal casting for themovie. The match-ups didn’t all work. Roger Edens originally wanted Tommy forBarnaby. That role went to Danny Lockin. When they went to see Tommy in How Now Dow Jones, they WERE looking forAmbrose. After Roger saw Tommy, he told them back in Hollywood that he hadfound a Barnaby. He wanted them to spin their head around in a differentdirection. Roger thought that if Tommy played Barnaby, it would have taken thefilm to a different level. Tommy thought that he would have been better forCornelius, having played the role in TheMatchmaker.
That role had already been cast by Michael Crawford. Of course, Tommy feels that Carol Channingshould have done the movie. Imagine her opening her arms to Louis Armstrongduring the title number. Her warmth and presence would have made that one ofthe most magical moments ever to be seen on film. Tommy shot the film for six months.Most of Tommy’s scenes were filmed on location in Garrison,New York. One of the toughest days occurred on June 6th, 1968. Theassassination of Robert F. Kennedy, a United States Senator and brother ofassassinated President John F. Kennedy, took place shortly after midnight onJune 5, 1968, in Los Angeles, California. Tommy found out when he was awakenedearly the next morning.
He got a call that morning that the schedule waschanged due to the fact that Robert F. Kennedy had been assassinated and WalterMatthau did not feel up to filming that day. Tommy’s first thought was don’tthey realize that he and the rest of the cast and crew were just as upset as Mr.Matthau.
Tommy didn’t make a deal about it. He got to the location site to findout that they would be shooting the elopement scene in which Dolly and Ambroseare climbing the ladder up to Ermengarde’s room. This would be taking place outsidean actual three story building with him and Barbra climbing up the ladder. Genehad instructed Tommy that once he got inside and as he was pulling Barbra in,to be extremely careful. She would have some difficulty with the climb due tothe petticoats and boots. No matter what, he was not to let go. As she startedinto the window and she let out a scream. He didn’t let go. He held on tighter.She screamed again. He. Again, did not let go. Eventually, she made her wayinto the window, stormed past Tommy and the crew and ran off the set. Hethought, “Oh my God! What have I done?” Half an hour later, she returned to theset. He had broken her famous Barbra nails! They did the scene again in onetake with Tommy being more careful. A magical moment took place in Roger Eden’s Bungalow. Roger,Joyce Ames, Tommy, and Barbra, and the rehearsal pianist. Tommy and Joyce saton either side of her.Roger was musically directing them. They were working onthe Sunday Clothes.
They had workedon their scene in which they are singing together on the street. She startedsinging, taking it to a whole other level. They were all holding their musicand their laps and she started singing, “Put on your Sunday Clothes when youfeel down and out” in this obbligato honey nouveau shape coming out of her.Tommy actually saw color coming out of her mouth and into vapor like a rainbow.“She has the voice of God.” Tommy has even considered directing Dolly himself. The Weissler’s, Barry and Fran, had a wonderful idea: Hello, Dolly starring Whoopi Goldberg.
When they asked Tommy if he would do it, he said yes and saw the entire show in his head. He saw it and it was unique. They asked him to talk to Jerry Herman about this. He didn’t desire to do it on the phone. He felt that he needed to be with Jerry to sell this idea.
He thought that Jerry might think it was too radical and it wasn’t. He hates when “revisals” are done that are so far from the intent of the original creators that it ends up being a different show. Tommy's instincts once again were right on. Jerry Herman nixed the idea. One idea that I'm glad was not nixed and that is Twentieth Century-Fox's decision to cast Tommy Tune so that we do have a record of his incredible dancing preserved on film. We are all blessed that they let him out of his seven year contract so that he was able to enrich the theater world with incredible work over the years. His nine Tony Awards attest to that fact.
Tommy is also an incredible artist. I am lucky to have several of his lithographs in my home and in Danny's office. Unfortunately, Tommy lost much of his personal mementos (including letters and journals) and painting collections in the devastating Hurricane Sandy. He is a trouper and is now wowing audiences at Feinstein's. Here is the official press release:
FOR IMMEDIATERELEASE Contact: Miller Wright / Dan Fortune at (212) 977-7800
FEINSTEIN’S AT LOEWS REGENCY
PRESENTS THE NEW YORK SOLO DEBUT
OF NINE TIME TONY AWARD-WINNING BROADWAY LEGEND
TOMMY TUNE
“TAPS, TUNES, AND TALL TALES”
WITH MICHAELBIAGI AT THE PIANO
NOVEMBER18, 25, 26
“Taps, Tunes and Tall Tales” is the perfect title for Tommy Tune’s cabaret debut at Feinstein’s at Loew’s Regency, and he delivers plenty of all three. You know you’re in for an evening of savvy show business sass the minute the lights dim and he sails in singing “I’ve Got Them Feelin’ Too Good Today Blues” in a red suit the color of a tomato surprise.-Rex Reed, The New York Observer (Read Full Review)
Tall Tommy Tune, Broadway star-director-choreographer (winner of 9 Tonys) makes his entrance in his show Taps, Tunes & Tall Tales at Feinstein’s at the Loews Regency strolling through the audience singing “I’ve Got Them Feelin’ Too Good Blues.” When he reaches the stage he does indeed tap all over the small Feinstein’s stage. Because he is so tall, his red tuxedo including vest, tails, and red rose on his label, had to be custom made but it is strikingly effective. His opening night audience was sold out with major Broadway stars in attendance. Every one of his sometimes complicated lyrics was crystal clear and his physical movements were extremely animated.-Joe Regan, Jr, Times Square Chronicles(Read Full Review)
FEINSTEIN’SAT LOEWS REGENCY,the nightclub proclaimed “Best of New York” by New York Magazine and “aninvaluable New York institution” by The NewYork Post will continue its Fall 2012 season with the New York solo debut of Broadway legend TOMMYTUNE. Broadway's tallest tapper takes to the city's smallest stage,dancing, singing and tale-telling through 50 years of big time showmanship, allon only 4 square feet! "You've got to see it to believe it" –P.T. Barnum. This intimate evening – featuring Musical Director MichaelBiagi on piano – will run for four shows on three nights:November 18, 25, and 26 at the Loews Regency Hotel (540 Park Avenue at 61stStreet).TOMMY TUNE is known as one of the most prolificdirector/choreographers of the twentieth century. He has enchanted audiencesfor 50 years with his charisma, vision, and innovation. Tune has been honoredwith nine Tony Awards celebrating him as a performer, choreographer anddirector (Best Actor in a Musical for My One and Only, Best FeaturedActor in a Musical for Seesaw, Best Choreography for A Day inHollywood/A Night in the Ukraine, My One and Only, Grand Hoteland The Will Rogers Follies, and Best Direction of a Musical for Nine,Grand Hotel and The Will Rogers Follies). In addition, Tune hasbeen awarded eight Drama Desk Awards, three Astaire Awards and the Society ofDirectors and Choreographers’ George Abbott Award for Lifetime Achievement.
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His film credits include Hello, Dolly!, The BoyFriend, and Mimi Bluette…fiore delmio giardino. In 2009, Mr. Tune was designated as a Living Landmark by theNew York Landmarks Conservancy. Tune is the recipient of the National Medal Of Arts,the highest honor for artistic achievement given by the President of the United States,and he has been honored with his own star on the legendary Hollywood Walk ofFame. For the past three years Mr. Tune been touring around the country in hismusical memoir Steps In Time, A Broadway Biography in Song and Dance.FEINSTEIN’S AT LOEWS REGENCY will present TOMMYTUNE, Sundays, November 18 and 25, and Monday, November 26 at 8:00PM with an additional 10:30 PM show on Monday, November 26. All shows havea $30.00 cover with $45.00 premium seats. In addition, there is a $25.00 foodand beverage minimum. Jackets are suggested but not required. The club islocated at 540 Park Avenueat 61st Streetin New York City.For ticket reservations and club information, please call (212) 339-4095 orvisit us online at Feinsteinsatloewsregency.com and TicketWeb.com.
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| Richard Skipper,Wayne Gmitter, Peggy Herman, Tommy Tune, Franco LaCosta,Alex Reybeck at Peggy Herman's CD Release Party at Feinstein's in May 2012 (Directed by Tommy Tune) |
Thank you Tommy Tune for the gifts you have given to the world and continue to give!
With grateful XOXOXs ,
Check out my site celebrating my forthcoming book on Hello, Dolly!
I want this to be a definitive account of Hello, Dolly! If any of you reading this have appeared in any production of Dolly, I'm interested in speaking with you!
Do you have any pics to share?
If you have anything to add or share, please contact me at Richard@RichardSkipper.com.
NO COPYRIGHT INFRINGEMENT INTENDED. FOR ENTERTAINMENT PURPOSES ONLY!
Please do what YOU can to be more aware that words and actions DO HURT...but they can also heal and help!
My next blog will be...My exclusive interview with Georgia Engel on Hello, Dolly!
Thank you, to all the mentioned in this blog!
Here's to an INCREDIBLE tomorrow for ALL...with NO challenges!
TILL TOMORROW...HERE'S TO AN ARTS FILLED DAYRichard Skipper, Richard@RichardSkipper.com
This Blog is dedicated to ALL THE DOLLYS and ANYONE who has EVER had a connection with ANY of them on ANY Level!
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